TIFF ‘22 Coverage: ‘The Greatest Beer Run Ever’
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.

Once upon a time, a tall, dark and handsome hunk fell in love with a fair-haired, twinky witch. With a twitch of his perky prick, the naughty little witch and his wicked twin-cousin raise sexual mayhem in and around 6969 Morning Glory Circle. This leads to a flying dildo, a Latino warlock popping the cherry of the nosy neighbor boy on roller-skates, a visit from an S&M witch doctor, workplace sex on a desk, and a poolside threeway with a billionaire client and an apprentice wizard, who is masquerading as the pool boy. In the end, love conquers all - until the mother of all mothers pays a visit.
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.
Adam Sandler goes hard as an NBA scout in this male-heavy sports-drama.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.